I went to see Hamilton - twice. Here’s what I thought

Veronica Lenard tells all about the musical of the year that has finally made its way to Australian shores.

If you had told me in 2015 that I would go to see a musical about an American founding father told through genres like hip hop, rap and R&B not once but twice within a week and a half, I would not have believed you. It would take another year and a chance viewing of a version of ‘The Schuyler Sisters’ to lead me down almost five years of countless listens to the Original Broadway Cast Recording before I would end up in the Lyric Theatre to watch the Australian production of Hamilton, which began previews on the 17th of March and officially premiered last Saturday. 

Hamilton’s success comes in part from its skilfully layered script and staging that take a story from the 1700 and 1800s to a contemporary enthralling work of art. This transformation is not without its risks, some of which have actualised, particularly regarding the thematic treatment of slavery, and the line between dramatic license and historical fictionalisation is blurred. The duality of Hamilton is complicated, it lives in the contradictions and conflicts, as it continues to invite valuable and necessary critique. As the Australian cast is the only one of the global Hamilton productions, the show, complete with its opportunities and complications, is being showcased to new audiences in new contexts.

The talent and skill in the Australian production is obvious from the get-go. The applause from the first preview audience to Jason Arrow’s initial declaration of “Alexander Hamilton” pauses the show mid-song for close to a minute (which also happened at the premiere). Arrow’s Hamilton is one of many stand out performances in the extremely talented cast, who get better with each performance. Lyndon Watts delivers an astonishing “Wait For It" and “The Room Where It Happens” as the ever patient Aaron Burr. Victory Ndukwe delivers the quick witted Marquis de Lafayette and effervescent Thomas Jefferson with dexterity and ease. Chloé Zuel, Akina Edmonds and Elandrah Eramiha are delightful in balancing the strength, vulnerability and snappy wit of the Schuyler Sisters.

The highly skilled ensemble is crucial to the success of this production. With practically forty-nine years of plot covered in two and half hours, they masterfully contextualise on stage interactions, creating the world around the leads and bringing the audience along with them. Their agility and synchronicity enhance every movement. The value of the ensemble, which may have been under appreciated if you’ve only watched the filmed version on Disney+ or listened to the cast recording, is truly made clear in the live experience.

Hamilton is a show that is best enjoyed when you remember to take in the stage as a whole because there is so much to see at any one time. Take the historical accuracy with a grain of salt and take in the cast with an appreciation that every performer both brings their own interpretations to the source text and bears the weight of the legacy of the role. For a show that reminds you that you have no control who tells your story, this production brilliantly and skilfully tells their own story.